But, as with countless newspapers across the country, the recession and the digital revolution have taken their toll. In the 1990s, the Post-Dispatch employed between 20 and 30 photo editors and photographers. “But having an isolated war zone, I don’t know how you prepare for that.” “We’re prepared for spot news,” Lynden Steele adds.
“That’s not something that happens every day.” “It’s a little bit surreal to see President Obama talking about a situation that you witnessed firsthand the night before,” says Post-Dispatch photographer David Carson. 9, and the turbulent protests that followed, the paper’s staff photographers went to work-and they haven’t stopped. In the wake of Ferguson, Mo., police officer Darren Wilson’s fatal shooting of an unarmed black teenager named Michael Brown on Aug. Louis Evening Post, have been covering a national story unfolding on their doorstep. Over the past few weeks, the journalists at the Post-Dispatch, created by Joseph Pulitzer in 1878 from a merger of the St. We have to be able to stand by what we’re doing now because we’re going to be in that neighborhood weeks, months, years from now.” “We have to work knowing that what we do now will come back to us a month from now. Louis Post-Dispatch’s director of photography Lynden Steele recently told TIME.
“When all the world’s media leaves, this is still our neighborhood,” the St.
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